Drafts by Amanda Kipling
This paper is from MA studies in the 90's. It remains a favourite read for Drama teacher trainees... more This paper is from MA studies in the 90's. It remains a favourite read for Drama teacher trainees on the PGCE Drama course at Goldsmiths.
It is written through a reflective practice lens and accounts the true events in my classroom following the death of the mother of a 12 year old female student. The dramatic art form was grasped by the students as an avenue for healing under these traumatic circumstances.
A certain amount of catharsis is reached by the bereaved student writing play script. However, her peers challenge her perspectives and assist her in re-writing the script in time for the school drama festival.
Book Chapters by Amanda Kipling
This chapter tracks our innate ability to re-enact ourselves in a process of self examination and... more This chapter tracks our innate ability to re-enact ourselves in a process of self examination and understanding. From sandpit to stage, it explores this process in child development which underpins the essence of theatre.
Arts, Pedagogy and Cultural Resistance
Peer Reviewed Articles by Amanda Kipling
Andragogical Studies the Journal for the Study of Adult Education and Learning, 2017
This article is similar to another featured in the National Drama journal which is specialised fo... more This article is similar to another featured in the National Drama journal which is specialised for drama educationalists. This article is written with a broader readership in mind whose interest is adult teaching and learning rather than the school context.
Drama Research, 2018
This paper explores the healing capacity of Heathcote's approach when applied by an early career ... more This paper explores the healing capacity of Heathcote's approach when applied by an early career drama teacher in an inner city secondary school. The lesson is analysed in detail and the article includes photographic material providing clear visuals. The highly creative and bold approach to the use of Heathcote's teacher in role and the manner in which the teacher uses her vulnerability to assist the classroom to confront their own actions provides a fascinating insight into transformations which can be achieved in the drama classroom.
Papers by Amanda Kipling
Andragoške studije, 2017
This paper explores the praxis of Dorothy Heathcote as a paradigm in its own right, making strong... more This paper explores the praxis of Dorothy Heathcote as a paradigm in its own right, making strong links with the work of Paolo Freire, Carl Rogers and Augusto Boal. Having provided this background I consider in particular Heathcote's last model-Rolling Role. I then explore how by adopting this paradigm, her praxis engages learners into a practice which is also a paradigm in its own right, allowing them to engage in their own research into themselves and their own learning.
This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both... more This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both for the teacher and the learners. This is explored and explained in depth with reference to the work of a number of key research methodologists. The paradigm is then applied actively to the work of a contemporary classroom practitioner whose own words are used-through online audio recording-to help analyse the work described.
Trentham eBooks, Mar 1, 2011
Drama is essentially learning though the medium of pretend. Theatre is the communication of what ... more Drama is essentially learning though the medium of pretend. Theatre is the communication of what is learned. Drama in Education engages both of these in isolation, and, for the most part, dances in an overlap of the two, making both happen at once. T hat is my 'in a nutshell' definition of Drama and Theatre. Teachers have tried long and hard to find a line between the two and most have concluded it is unnecessary-children instinctively know and understand the difference and are fluent in the areas which overlap. All arts depend on an unspoken connoisseurship and students in schools acquire this gift quite naturally. Why is this? Play-a human birthright There are certain universal truths: that children play is one. We all learn through playing, as Froebel, Piaget, Bruner and Vygotsky agree. Drama has always enjoyed great popularity at GCSE and A level and examination results are good. Why is this subject so successful? Simply, drama has at its core natural learning through play. It is no coincidence that the word play is part of words like player, playhouse, playwright and so on. Developmentally we have the 'baby puking and mewling' imitating his mother's sounds and facial expressions in play at the start of life. Then we have the plays of Shakespeare, still relevant 400 years on, presenting man engaged in the universal problems of the human condition. In our own way we are all doing the same thing in our nursery play with Wendy houses and toys and playmates. Theatre and drama-however one wishes to define them, both and together sit on top of the fundamental universal pattern we all follow: play. 95 Analysing what we and the children are really doing when they play and do drama
There is an abundance of studies about engagement in the drama process changing directions in thi... more There is an abundance of studies about engagement in the drama process changing directions in thinking. This paper explores how and why these changes happen. Primarily drawing on Hume's early studies about thought and thought processes, a model of 'dramatic fear' is proposed as a possible dynamic context for thinking in drama. The story of year ten student, Nina, illuminates the theoretical structure proposed as it unfolded in a GCSE drama lesson. Her story provides the context for a further exploration into Meillassoux's 'moments of unreason' whereby we catch glimpses of the 'thing in itself' and momentarily penetrate the correlationist membrane.
This chapter examines how play in the early years becomes theatre. By appreciating the dynamics o... more This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making later in KS4 and 5
National Drama, Apr 1, 2020
Drama Research: international journal of drama in education, 2018
This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both... more This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both for the teacher and the learners. This is explored and explained in depth with reference to the work of a number of key research methodologists. The paradigm is then applied actively to the work of a contemporary classroom practitioner whose own words are used – through online audio recording ‐ to help analyse the work described.
Educational Drama pioneer, Dorothy Heathcote, worked in new and innovative ways which were, even ... more Educational Drama pioneer, Dorothy Heathcote, worked in new and innovative ways which were, even in the progressive times in which she was working, considered against the grain. This chapter examines her practice as a pedagogy of resistance and goes onto explore how, with the use of technology, Drama Education students carry on this resistant practice in new and challenging contexts. Heathcote's 'Rolling Role' model is explored by the students as a way of discovering their own resistant practice and re-discovering the freedom to learn for themselves and their pupils.
This chapter examines how play in the early years becomes theatre. By appreciating the dynamics o... more This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making later in KS4 and 5.
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Drafts by Amanda Kipling
It is written through a reflective practice lens and accounts the true events in my classroom following the death of the mother of a 12 year old female student. The dramatic art form was grasped by the students as an avenue for healing under these traumatic circumstances.
A certain amount of catharsis is reached by the bereaved student writing play script. However, her peers challenge her perspectives and assist her in re-writing the script in time for the school drama festival.
Book Chapters by Amanda Kipling
Peer Reviewed Articles by Amanda Kipling
Papers by Amanda Kipling
It is written through a reflective practice lens and accounts the true events in my classroom following the death of the mother of a 12 year old female student. The dramatic art form was grasped by the students as an avenue for healing under these traumatic circumstances.
A certain amount of catharsis is reached by the bereaved student writing play script. However, her peers challenge her perspectives and assist her in re-writing the script in time for the school drama festival.